t.  K  NOEDLER  <®,  CO. 

Exhibition  §f 
OLD  cTVtASTERS 


IELD  JANUARY  ELEVENTH 
I TJ  I'W  ENTY-SE VENTH 
INCLUSIVE,  cTWCMXII 


from  the  Library  of 
Frank  Simpson 


Philip  IV. 


by  Velazquez 


LOAN  EXHIBITION 

OLD  cTHASTERS 


FOR  THE  BENEFIT  OF 
THE  ARTISTS'  FUND 
AND  ARTISTS'  AID 
SOCIETIES 


AT  THE  GALLERIES  OF 

cTW.  KNOEDLER  Cfi,  CO. 
556-558  FIFTH  AVENUE 

JANUARY  11th  TO  27th  INCLUSIVE 
1912 


This  Edition  limited  to 
Two  hundred  and  fifty 
copies,  was  privately 
printed  for  <£Vl.  Knoedler 
C&  Co.  The  number  of 
this  copy  beings  .  


PREFACE 


KNOEDLER  &  CO.,  IN  FORM- 
ALLY OPENING  THEIR  NEW 
BUILDING,  BEG  TO  THANK 
THEIR  PATRONS  FOR 
THEIR  GREAT  GENEROSITY 
IN  MAKING  THE  LOAN  EX- 
HIBITION OF  OLD  MASTERS 
(WHICH  HAVE  BEEN  SOLD 
BY  THE  FIRM)  OF  SUCH  IN- 
TEREST AND  IMPORTANCE. 
IT  HAS  BEEN  DECIDED  TO  GIVE  THE 
PROCEEDS  OF  THE  EXHIBITION  TO  THE 
ARTISTS'  FUND  AND  ARTISTS'  AID  SO- 
CIETIES, WHO  HAVE  IN  COMMON  THE 
OBJECT  OF  ASSISTING  UNFORTUNATE 
ARTISTS. 

NOTE:  8877  persons  paid  admission  and  the 
sum  of  $4,958.50  was  divided  between  the  above  so- 
cieties. 


3 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/loanexhibitionofOOmkno 


Jeremiah  Ives 


by  Beechey 


CATALOGUE 


SIR  WILLIAM  BEECHEY,  R.A. 

(1753— 1839O 

Portrait  of  Jeremiah  Ives. 

Full  length  ;  standing  against  a  tree ;  face  turned 
to  the  right ;  dark  brown  coat  and  yellow  knee- 
breeches  ;  hat  and  cane  in  his  right  hand ;  landscape 
background. 

Canvas.   22  W.  x  28^  H. 

He  was  an  Alderman  of  the  city  of  Norwich,  and 
was  born  in  1720.  His  home  in  Norfolk  was 
called  "Catton  Hall." 

Mentioned  in  Roberts'  book  on  Beechey,  pages  31 
and  264. 

Exhibited  at  Royal  Academy,  1788,  No.  215. 

Previously  owned  by  a  member  of  the  family  in 
England. 


5 


SIR  WILLIAM  BEECHEY,  R.A. 

(1753— 1839.) 
Portrait  of  Mrs.  Jeremiah  Ives. 

Full  length,  standing  to  the  left  in  a  landscape ; 
black  dress,  yellow  sash ;  large  picture  hat  with 
feathers ;  in  front  of  her  run  two  small  dogs. 

Canvas.   22  W.  x  28*^  H. 

Companion  to  foregoing  portrait. 

Mentioned  in  Roberts'  book  on  Beechey,  pages  31 
and  264. 

Exhibited  at  Royal  Academy,  1788,  No.  188. 

Previously  owned  by  a  member  of  the  family  in 
England. 


6 


Mrs.  Jeremiah  Ives 


by  Beechey 


JOHN  CONSTABLE,  R.A. 

(1776— 1837.) 
Salisbury  Cathedral. 

View  of  the  cathedral  seen  in  the  distance  be- 
tween large  trees ;  water  and  some  cattle  in  the 
foreground ;  figures  on  a  path  to  the  left ;  blue  sky 
with  clouds. 

Signed,  "John  Constable,  f.  London,  1826." 

Canvas.  44  W.  x  34%  H. 

Two  other  slightly  different  versions  exist ;  one  ol 
which,  painted  in  1823,  is  in  the  South  Kensing- 
ton Museum,  London. 

Mentioned  in  C.  J.  Holmes'  work  on  Constable,  page 
246. 

Etched  by  A.  Brunet  Debaines. 
Exhibited  at  Burlington  House  1895,  No.  4. 
Collection  of  Bishop  Mirehouse  of  Salisbury. 
Collection  of  Stephen  G.  Holland,  Esq.,  London. 


7 


JOHN  CONSTABLE,  R.A. 

(1776-1837.) 

Canal  near  Newbury. 

Water  in  the  foreground  with  fishermen  in 
boat.  Cottage  with  trees  on  the  left,  lock  on  the 
right,  cloudy  sky. 

Canvas.   48^  W.  x  33  J4  H. 

Previously  owned  by  Arthur  Sanderson,  Esq.,  Ed- 
inburgh. 


8 


JOHN  CONSTABLE,  R.A. 

(1776— 1837.) 

Stoke-by-Nayland,  Suffolk. 

On  a  woody  road  in  the  foreground  is  a  horse, 
drawing  a  plough,  a  cart  with  donkey  and  two  cows  ; 
on  a  bank  in  the  centre  a  ploughman  is  reclining', 
while  he  converses  with  a  peasant,  who  is  leaning 
over  a  gate ;  a  donkey  near  them ;  beyond  on  the 
left  are  seen  the  church  and  the  village. 

Canvas.   66  W.  x  49  H. 

"I  am  glad  you  encourage  me  with  'Stoke.'  What 
say  you  to  a  summer  morning?  July  or  August, 
at  eight  or  nine  o'clock,  after  a  slight  shower 
during  the  night,  to  enhance  the  dews  in  the 
shadowed  part  of  the  picture,  under  'hedgerow 
elms  and  hillocks  green' — then  the  plough,  cart, 
horse,  gate,  cows,  donkey,  etc.,  are  all  good 
paintable  material  for  the  foreground,  and  the 
size  of  the  canvas  sufficient  to  try  one's 
strength,  and  keep  one  at  full  collar." — Letter 
from  Constable  to  Mr.  Purton,  Feb.  6th,  1836; 
see  Leslie's  "Life  of  Constable." 

Mentioned  in  C.  J.  Holmes'  work  on  Constable,  page 
249. 

Collection  of  Miss  Morris,  i860. 

Collection  of  Jonathan  Nield,  Esq.,  1879. 

Collection  of  Sir  Fred'k  Thorpe  Mappin,  Bart., 
Thornbury,  Sheffield,  1910. 


9 


JOHN  (Old)  CROME. 

(1769 — 1821.) 

The  Willow  Tree. 

Large  trees  occupy  the  centre  of  the  picture ;  in 
the  foreground  some  water,  crossed  by  a  rustic 
bridge ;  figures  of  a  woman  and  a  man  on  a  grey 
horse  to  the  right;  distant  landscape  seen  beyond 
them ;  blue  sky,  with  clouds. 

Canvas.   40%  W.  x  51  H. 

Exhibited  at  Burlington  House,  1876,  No.  280.  Also 
in  1891,  No.  33. 

Collection  of  Sherrington   (famous  for  pictures  of 
the  Norwich  school). 

Collection  of  G.  Holmes,  Esq.,  England. 


10 


The  Willow  Tree 


by  John  Crome  (old) 


Caroline  Anne  Horde  by  Gainsborough 


THOMAS  GAINSBOROUGH,  R.A. 

(I727-I788.) 

Portrait  of  Caroline  Anne  Horde. 

Nearly  half  length,  in  oval,  almost  full  face. 
White  chiffon  dress,  blue  bodice,  powdered  curly 
hair  tied  with  blue  ribbon. 

Canvas.   25  W.  x  30  H. 

Mentioned  in  Armstrong's  book  on  Gainsborough, 
page  197. 

Previously  owned  by  a  member  of  the  family  living 
at  Cote  House,  Lambourne,  Berks. 


11 


THOMAS  GAINSBOROUGH,  R.A. 

(1727-1788.) 

Portrait  of  Lady  Dorothea  Lethbridge. 

Nearly  half  length,  in  oval,  almost  full  face ; 
lace  kerchief  over  head  and  tied  under  chin;  light 
dress  with  roses  and  jasmine. 

Canvas.   25  W.  x  30  H. 

She  was  the  eldest  daughter  and  co-heiress  (with 
her  sister  Mary,  wife  of  Sir  Francis  Dugdale 
Astley,  Bart.,  of  Everley)  of  Mr.  William  Buck- 
ler, of  Boreham,  Wilts,  married  Sir  John  Leth- 
bridge, 1st  Baronet,  1776.  Died  1831,  leaving 
a  son,  the  2nd  Baronet,  and  two  daughters. 

Mentioned  in  Armstrong's  book  on  Gainsborough, 
page  198. 

Exhibited  at  Burlington  House,  1878,  No.  108. 

Previously  owned  by  Sir  Wroth  A.  Lethbridge, 
Bart.,  of  Sandhill  Park,  Taunton. 


12 


Lady  Dorothea  Lethbridge 


by  Gainsborough 


Edmund  Morton  Pleydell 


by  Gainsborough 


THOMAS  GAINSBOROUGH,  R.A. 

(1727— 1788.) 

Portrait  of  Edmund  Morton  Pleydell. 

Three-quarters  length ;  standing ;  nearly  full 
face ;  leaning  left  arm  on  back  of  Chippendale  chair ; 
plum  colored  velvet  coat;  open  window  on  left, 
green  curtain  background  on  right. 

Canvas.   41  W.  x  50  H. 
Previously  owned  by  a  member  of  the  family  in 
England. 


13 


THOMAS  GAINSBOROUGH,  R.A. 

(1727-1788.) 

Portrait  of  H.  R.  H.  William  Henry, 

Duke  of  Clarence,  afterwards  King  William  IV. 

Nearly  half  length,  slightly  turned  to  the  left, 
looking  at  spectator  and  represented  as  a  youth  in 
naval  uniform,  with  powdered  hair,  holding  his  hat 
and  sword,  and  wearing  the  Star  and  Ribbon  of  St. 
Patrick. 

Canvas.   23  W.  x  28  H. 

Previously  owned  by  the  late  Duke  of  Cambridge, 
London. 


14 


Mrs.  Fitzherbert  by~  Gainsborough 


THOMAS  GAINSBOROUGH,  R.A. 

(1727-1788.) 
Portrait  of  Mrs.  Fitz Herbert. 
Half  length,  looking  slightly  to  the  left,  holding 
her  right  hand  up  to  her  head ;  powdered  hair ;  low- 
neck  brown  dress ;  red  curtain  background. 

Canvas.  25  W.  x  30  H. 
Maria  Anne,  daughter  of  Walter  Smythe  of  Bram- 
bridge,  Hampshire ;  born  July,  1756.  She  mar- 
ried first  in  1775,  Edward  Weld  of  Lul worth 
Castle;  second  time  in  1778,  Thomas  F.  Fitz- 
herbert  of  Swynnerton,  and  the  third  time  in 
1785,  George,  Prince  of  Wales,  from  whom  she 
separated  in  181 1. 
The  story  of  her  life  is  contained  in  W.  H.  Wilkin's 
book,  entitled,  "Mrs.  Fitzherbert  and  George 
IV."  He  brought  to  light  certain  facts  in  con- 
nection with  her  marriage  with  the  Prince,  which 
he  obtained  from  documents  deposited  at  Courts' 
Bank,  which  King  Edward  the  VII  gave  him  the 
right  to  publish. 
Reproduced  as  a  frontispiece  in  Volume  I  of  this 

work  by  Wilkins. 
Engraved  by  J.  Scott  in  Graves'  book  on  Gains- 
borough's work. 
Mentioned  in  Armstrong's  book  on  Gainsborough, 
page  195. 

Mentioned  in  "The  Art  Journal,"  1897,  Pa£e  35>  m 
an  article  entitled  "A  Northern  Art  Patron," 
and  reproduced  on  page  36. 

Exhibited  at  South  Kensington  Portrait  Exhibition, 
1868. 

Exhibited  at  Grosvenor  Gallery,  1885. 
Exhibited  at  New  Gallery,  1891. 
Exhibited  at  Roval  House  of  Guelph,  No.  85. 
Exhibited  at  British  Royal  Pavilion,  Universal  Ex- 
hibition, Paris,  1900. 
Collection  of  the  Earl  of  Fortescue. 
Collection  of  Arthur  Sanderson,  Esq.,  Edinburgh. 


THOMAS  GAINSBOROUGH,  R.A. 

(1727-1788.) 

Pastoral  Landscape  with  Figures  and  Cattle. 

In  the  foreground  a  pool,  on  the  far  side  of 
which  are  some  sheep  and  two  cows  with  shepherd 
boy ;  woody  and  mountainous  landscape.  To  the 
left  a  boy  and  girl  seated. 

Canvas.    59  W.  x  47  H. 

Collection  of  Lord  Delawarr,  1857. 

Collection  of  Capt.  F.  H.  Huth,  England. 


16 


JOHN  HOPPNER,  R.A. 

(1759—1810.) 

Portrait  of  Mrs.  Arbuthnot. 

Three-quarters  length,  seated  in  a  landscape,  un- 
der a  tree ;  face  turned  to  the  left ;  powdered  hair, 
yellow  lawn  dress  cut  to  V-shape,  right  elbow  rest- 
ing on  a  stone,  holding  flowers  in  left  hand. 

Canvas.  40  W.  x  50^  H. 

I\ Tarda  Mary  Anne,  daughter  of  William  Clapcott 
Lisle,  Esq.,  of  Upway,  Dorset,  by  Hester, 
daughter  of  George,  Viscount  Malpas,  son  of 
George,  1st  Marquis  of  Cholmondeley ;  born  20 
August,  1775 ;  married,  as  his  first  wife,  23  Feb- 
ruary, 1799,  the  Right  Hon.  Charles  Arbuthnot ; 
died  in  Constantinople  (where  her  husband  was 
Ambassador-Extraordinary)  about  June,  1806. 

Mentioned  in  McKay  and  Roberts'  work  on  Hopp- 
ner,    page  5. 

Previously  owned  by  Sir  Henry  Hawley,  Brighton. 


17 


JOHN  HOPPNER,  R.A. 


(1759— 1810.) 

Portrait  of  Miss  Elizabeth  Beresford. 

Half  length  in  a  landscape,  turned  and  look- 
ing- to  the  left,  in  white  tight-fitting  dress  with  broad 
pink  sash  and  white  cross-over,  black  felt  hat  bound 
with  pink  ribbon  and  trimmed  with  three  white  os- 
trich feathers;  powdered  curly  hair. 

Canvas.   25  W.  x  30  H. 

Eldest  daughter  of  Francis  Beresford,  Esq.,  of  Ash- 
bourne, Derby;  born  in  St.  Mary,  Nottingham, 
11  Sept.,  1762;  married  at  Ashbourne,  6  April, 
1791,  John  Wright,  Esq.,  of  Lenton  Hall,  Notts, 
banker;  died  17  April,  1833. 

Engraved  in  mezzotint  by  J.  W.  Chapman,  18%  x 
15 in.,  1903.  Reproduced  in  ''Beresford  of 
Beresford,"  part  III,  facing  page  29. 

Mentioned  in  McKay  and  Roberts'  work  on  Hopp- 
ner,  page  21,  and  illustrated  in  the  same  book, 
opposite  page  22. 

Previously  owned  by  J.  Osmaston,  Esq.,  Stones 
Hill,  Limpsfield,  Surrey. 


18 


Miss  Elizabeth  Beresford 


by  Hoppner 


Countess  of  Darnley"  and  Lady"  Elizabeth  Bligh  by~  Hopp 


JOHN  HOPPNER,  R.A. 

(1759—1810.) 
Countess  of  Darnley  and  Lady  Elizabeth  Bligh. 

Nearly  full  length,  seated  in  a  landscape  be- 
neath trees,  leaning  against  a  rock;  in  low  cut  green- 
ish dress,  white  chemisette  showing  at  neck ;  brown- 
ish garment  falling  over  right  shoulder  and  cover- 
ing lap ;  looking  to  the  right ;  brown  hair  bound  with 
blue  ribbon ;  the  child  standing  on  her  mother's  lap, 
in  brownish  dress,  bare  feet  and  legs. 

Canvas.   40  W.  x  50  H. 
Elizabeth,  third  daughter  of  the  Right  Hon.  Wil- 
liam Brownlow,  of  Lurgan ;  married  19  Sept., 
1791,  John,  4th  Earl  of  Darnley;  died  22  Dec, 
1831.    The  child,  Lady  Elizabeth  Bligh,  was 
born  7  April,  1800;  married  19  July,  1833,  tne 
Rev.  John  Brownlow;  died  13  Nov.,  1872. 
"Hoppner's  relations  with  the  Darnley  family  would 
seem  to  have  been  exceptionally  cordial  and  the 
collection  of  portraits  by  him  at  Cobham  Hall 
is  probably  larger  and  finer  than  at  any  house 
in  England."    See  Skipton,  page  116. 
Mentioned  in  McKay  and  Roberts'  work  on  Hopp- 
ner    page  63,  and  illustrated  opposite  the  same 
page. 

Mentioned  in  Skipton's  "Life  of  Hoppner,"  page 
115,  and  illustrated  in  the  same  book,  opposite 
page  56. 

Engraved  in  mezzotint  by  J.  B.  Pratt,  15^2  x  19% 
1906. 

Exhibited  at  Burlington  House,  1877,  No.  253. 
Previously  owned  by  the  Earl  of  Darnley,  Cobham 
Hail,  near  Gravesend. 


19 


JOHN  HOPPNER,  R.A. 


(1759— 1810.) 

Portrait  of  Charles  Oldfield  Bowles. 

Full  length  of  a  youth  standing  under  some  trees. 
Wears  a  plum  colored  costume  with  a  white  lawn  col- 
lar. A  dog  by  his  side,  river  and  landscape  back- 
ground on  the  right. 

Canvas.   47  W.  x  62  H. 

Son  of  Oldfield  Bowles,  Esq.,  of  North  Aston,  Ox- 
fordshire, by  his  marriage,  in  1770,  to  Mary, 
daughter  of  Sir  Abraham  Elton,  Bart. ;  matri- 
culated Christ  Church  College,  Oxford,  3  May, 
1803,  aged  seventeen;  B.A.  1807,  in  which  year 
he  entered  Lincoln's  Inn  as  a  student;  M.A. 
1810;  D.C.L.  14  June,  1820;  died  3  July,  1862. 

Charles  Oldfield  Bowles  was  the  brother  of  Miss 
Bowles,  whose  famous  picture  ("Love  Me,  Love 
My  Dog")  was  painted  by  Sir  Joshua  Reynolds 
in  1775-6  and  is  now  in  the  Wallace  Collection. 

Mentioned  in  McKay  and  Roberts'  work  on  Hopp- 
ner,  page  29,  and  illustrated  in  the  same  work 
opposite  page  30. 

Exhibited  at  Berlin,  1908,  No.  24;  and  at  Copen- 
hagen, 1908,  No.  14. 

Previously  owned  by  a  member  of  the  family  in 
England. 


20 


Charles  Oldfield  Bowles 


by  Hoppner 


Lady  Mildmay  and  Child  by  Hoppner 


JOHN  HOPPNER,  R.A. 

(1759— 1810.) 
Portrait  of  Lady  Jane  Mildmay  and  Child. 
Standing-  on  a  terrace,  turned  slightly  to  the 
left  and  looking  at  spectator,  in  white  dress  with 
long,  flowing  patterned  sash  or  shawl ;  right  arm 
around  child,  who  is  sitting  on  a  pedestal ;  left  arm 
hanging  down  by  her  side,  the  hand  holding  sash ; 
the  child  with  both  arms  round  its  mother's  neck,  is 
dressed  in  white,  with  legs  bare  to  knees ;  two  fluted 
columns  and  vase  to  left ;  trees  in  distance  to  right. 

Canvas.  54  W.  x  76  H. 
Daugtiter  of  Carew  Mildmay,  Esq.,  of  Shawford 
House,  Hants ;  married  22  June,  1786,  Sir  Henry 
Paulet,  3rd  Bart.,  who  took  the  name  of  Mild- 
may in  the  succession  of  his  wife  to  the  estates 
of  Hayle  Grove,  Somerset,  and  Marks,  Essex ; 
she  died  in  Eaton  Square,  6  May,  1857,  aged 
ninety-two  years.  Lady  Mildmay  had  twelve 
children. 

The  child  is  Edward,  eighth  son,  born  7  July,  1797  . 
married  first  Marianne,  daughter  of  R.  Sher- 
son,  Esq.  (divorced  1830)  ;  and  secondly,  30 
July,  1835,  Francis  L.  P.  Perceval;  died  16  May, 
1868. 

Mentioned  in  McKay  and  Roberts'  book  on  Hopp- 

ner,  pages  169  and  170,  and  illustrated  in  the 

same  book  opposite  page  170. 
Engraved  in  mezzotint  by  W.  Say,  1810,  and  also  by 

H.  Scott  Bridgwater,  1908. 
Exhibited  at  Royal  Academy,  1803,  No.  155. 
Previously  owned  by  a  member  of  the  family  in 

England. 


21 


SIR  THOMAS  LAWRENCE,  P.R.A. 

(1769— 1830.) 

Portrait  of  Mrs.  Fielde. 

Half  length ;  head  slightly  turned  to  the  right ; 
low-neck  white  gown,  brown  cloak  over  left  shoul- 
der ;  dark  hair  arranged  low  over  temples. 

Canvas.  25%  W.  x  30  H. 

She  was  the  second  daughter  of  George  Hallsford, 
Brigadier  2nd  Troop  of  Horse  Guards. 

Previously  owned  by  a  member  of  the  family  in 
England. 


22 


Mrs.  Fielde 


by  Lawrence 


SIR  THOMAS  LAWRENCE,  P.R.A. 


(1769— 1830.) 
Lady  Mary  Anne  Beaumont. 

Half  length,  seated,  nearly  full  face;  white 
dress,  her  black  hair  parted,  and  arranged  low  on 
forehead,  hands  in  lap  on  yellow  mantle. 

Canvas.   28%  W.  x  36  H. 

She  was  the  eldest  daughter  of  Dr.  William  How- 
ley,  late  Archbishop  of  Canterbury.  Married 
16th  June,  1825,  Sir  George  Howland  Willough- 
by  Beaumont,  8th  Baronet.  Died  15th  Feb- 
ruary, 1834. 

Previously  owned  by  a  member  of  the  family  in 
England. 


23 


SIR  THOMAS  LAWRENCE,  P.R.A. 

(1769— 1830.) 
Lady  Julia  Peel. 
Nearly  three-quarters  length,  standing,  full  face. 
Wears  a  dark  purple  cloak  trimmed  with  white  fur 
over  a  low  neck  white  satin  gown.  At  her  breast 
she  wears  a  rose.  Large  black  hat  trimmed  with 
red  bird  of  paradise  feathers.  Hair  parted  and  worn 
low  over  the  temples.  Her  left  arm  in  front  of  her 
holds  edge  of  cloak.    Right  arm  hangs  by  her  side. 

Canvas.  28  W.  x  36  H. 
Julia,  youngest  daughter  of  General  Sir  John  Floyd, 
Bart,  married  Sir  Robert  Peel  June  8,  1820,  and 
died  Oct.  27,  1859. 
Lord  Ronald  Sutherland  Gower,  who  reproduces 
this  portrait,  in  his  book  on  Sir  Thomas  Law- 
rence opposite  page  77,  speaks  as  follows  of 
it  on  page  56:  "This  is  a  superb  work,  rich  in 
color,  and  with  a  charm  which  places  its  author 
on  a  level  with  the  painter  of  the  well-known 
portrait  of  Rubens'  wife,  called  "Le  Chapeau  de 
Paille,"  now  in  the  National  Gallery,  which  cer- 
tainly had  inspired  Lawrence,  when  he  painted 
this  portrait  of  Lady  Peel,  and  which  he  had 
probably  studied  in  Sir  Robert's  Gallery  at  Day- 
ton." 

The  same  authority  tells  us  on  page  74  that  Lawrence 
had  a  deep  affection  for  the  Peel  family,  and 
looked  upon  their  house  as  his  second  home,  and 
it  was  there  that  he  dined  a  few  evenings  pre- 
vious to  his  death. 

Engraved  by  Samuel  Cousins,  R.A.,  in  1832,  and  by 
W.  Giller  in  1836,  and  by  Charles  Heath. 

Exhibited  at  Royal  Academy,  1825,  No.  28,  as  Mrs. 
Peel. 

Exhibited  at  British  Institution,  1830,  No.  55. 
Exhibited  at  British  Institution,  1847,  No.  154. 
Exhibited  at  British  Victorian  Exhibition  (New 

Gallery),  1891,  No.  165. 
Collection  of  Sir  Robert  Peel,  London. 
Collection  of  M.  Bardoc,  Paris. 

24 


Lady  Julia  Peel  by  Lawrence 


Isabella  Brown 


by  Raebu 


SIR  HENRY  RAEBURN,  R.A. 


(1756— 1823.) 

Portrait  of  Isabella  Brown. 

Three-quarters  length,  seated ;  nearly  full  face ; 
white  dress ;  hands  clasped  and  resting  in  her  lap. 

Canvas.   24^4  W.  x  29^4  H. 

Isabella  Brown  was  born  1790  in  Jamaica,  daughter 
of  James  Brown,  a  coffee  planter,  who  married 
Anne,  daughter  of  Abner  Mellor,  also  a  coffee 
planter  in  Jamaica.  In  1799  Isabella  was  sent 
to  relations  in  Edinburgh  to  be  educated.  The 
portrait  was  painted  there,  and  sent  out  to 
Jamaica  in  1800,  but  after  the  death  of  her 
grandfather  was  brought  back  to  Scotland  in 
1803  and  taken  to  Gattonside  (near  Melrose), 
where  they  lived  until  James  Brown's  death  in 
1816,  when  his  two  sons  sold  the  place,  and 
they  all  went  to  England,  but  she  never  settled 
anywhere.  Her  brothers  both  became  Vicars 
in  Northamptonshire,  and  she  lived  near  them 
for  some  years.   She  died  in  1870. 

Previously  owned  by  a  member  of  the  family  in 
England. 


25 


SIR  HENRY  RAEBURN,  R.A. 

(1756— 1823.) 

Portrait  of  Dr.  Craigie. 

Three-quarters  length,  seated  in  a  landscape, 
turned  half  way  to  the  right,  nearly  full  face;  pow- 
dered hair,  gray  coat,  green  knee-breeches;  holds  hat 
in  right  hand. 

Canvas.    38^  W.  x  48^  H. 

Dr.  Craigie  was  in  the  Service  of  the  East  India  Com- 
pany, and  died  on  board  the  "Houghton,"  one  of 
the  boats  used  in  the  service,  February  10,  1795. 

Previously  owned  by  a  member  of  the  family  in 
England. 


26 


A  Young  Lady 


by  Raeburn 


SIR  HENRY  RAEBURN,  R.A. 

(1756-1823.) 

Portrait  of  a  Lady. 

Half  length,  nearly  full  face;  white  dress,  dark 
red  cloak ;  hair  arranged  in  ringlets  low  on  forehead. 

Canvas.   25  W.  x  30  H. 

She  was  a  member  of  the  De  Vere  family  of  Craige- 
hall,  Midlothian,  Scotland. 

Exhibited  at  Scottish  Old  Masters'  Exhibition,  Grafton 
Gallery,  1895. 

Exhibited  at  Edinburgh  Loan  Exhibition,  190 1,  No. 
148. 

Previously  owned  by  Mr.  Arthur  Sanderson  of  Edin- 
burgh, who  purchased  it  from  the  family. 


SIR  HENRY  RAEBURN,  R.A. 

(1756— 1823.) 

The  Sons  of  David  Monro  Binning. 

Full  length;  two  boys  in  plumb  brown  costume, 
white  ruffs  and  stockings,  seated  in  a  landscape.  The 
boy  who  is  seated  higher  up,  has  his  right  arm  around 
shoulder  of  his  brother ;  the  latter  holds  a  whip  in  his 
right  hand;  leans  with  his  left  arm  on  his  brother's 
lap,  and  has  green  hat  in  left  hand. 

Painted  about  181 1. 

Canvas.  40  W.  x  50  H. 

This  was  probably  the  portrait  of  two  boys  exhibited 
at  the  Edinburgh  Exhibition,  181 1. 

Illustrated  in  Armstrong's  "Raeburn,"  opposite  page 
68. 

Mentioned  in  Armstrong's  "Raeburn,"  page  96. 

Previously  owned  by  G.  H.  Monro  Home,  Esq.,  Scot- 
land. 


28 


The  Sons  of  David  Munro  Binning,  Esq.  by"  Raeburn 


Mr.  Johnston  of  Straiton 


by  Raeburn 


SIR  HENRY  RAEBURN,  R.A. 

(1756^-1823.) 

Portrait  of  James  Johnston  of  Straiton. 

Half  length;  full  face,  seated  in  a  crimson  chair; 
blue  coat ;  white  waistcoat  and  stock.  Hands  holding 
open  book. 

Canvas.   2J%  W.  x  35^4  H. 

Mr.  Johnston  married  the  second  daughter  of  Lord 
Polkemmet  (William  Baillie). 

Mentioned  in  Armstrong's  "Raeburn,"  page  106. 

Exhibited  at  the  Raeburn  Exhibition,  National  Gal- 
leries, Edinburgh,  1876. 

Previously  owned  by  Lady  Baillie  of  Polkemmet. 


29 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

(1723— 1792.) 

Portrait  of  Miss  Bridget  Morris, 

Nearly  half  length,  full  face ;  in  a  low  neck  satin 
dress  under  a  light  blue  satin  jacket  edged  with  er- 
mine ;  ornaments  of  rubies  and  pearls. 

Painted  in  1758. 

Canvas.   25  W.  x  30  H. 

She  was  the  daughter  of  Robert  Morris  of  Tredegar, 
Co.  Glamorgan;  married  April  14,  1762,  Thomas 
Lockwood. 

Mentioned  in  Leslie  and  Taylor's  "Life  and  Times  of 
Sir  Joshua  Reynolds,"  Vol.  I,  page  156. 

Mentioned  in  Graves'  and  Cronin's  "Reynolds/'  Vol. 
II,  page  670. 

Mentioned  in  Armstrong's  "Reynolds,"  page  221. 
Collection  of  Colonel  Morris. 
Collection  of  Lord  Hastings,  England. 


30 


Miss  Bridget  Morris 


by~  Reynolds 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

(1723— 1792.) 

Lady  Skipwith. 

Three-quarters  length.  Seated  on  a  garden  bench, 
half  turned  to  the  right ;  head  almost  in  profile ;  white 
muslin  gown  with  blue  ribbons,  at  the  breast  a  bunch 
of  pink  roses.  On  her  powdered  hair  a  white  hat  with 
ostrich  feathers,  and  in  her  right  hand  she  holds  a 
white  glove. 

Canvas.   40  W.  x  50  H. 

Eldest  daughter  of  Hon.  George  Shirley;  she  married 
September  8,  1785,  Sir  Thomas  George  Skipwith, 
the  4th  and  last  Baronet  of  that  line.  Sat  for  this 
portrait  May,  1787.  See  Leslie  and  Taylor's 
"Life  and  Times  of  Sir  Joshua  Reynolds,"  Vol. 

II,  page  512.    She  became  a  widow  in  July,  1790. 

In  1864  the  picture  was  at  Tunbridge  Wells,  the  prop- 
erty of  Sir  Peyton  d'Estoteville  Skipwith,  Bart., 
who  was  then  a  minor  of  seven  years.  See 
Graves'  and  Cronin's  "Sir  Joshua  Reynolds,"  Vol. 

III,  pages  901  and  902. 

Mentioned  in  Armstrong's  "Reynolds,"  page  229. 

Illustrated  in  Vol.  VII  of  the  engraved  works  of  Sir 
Joshua  Reynolds,  published  by  H.  Graves.  En- 
graved by  G.  H.  Every,  1864. 

Exhibited  at  Grosvenor  Gallery,  1889,  No.  14. 

On  the  death  of  the  above  owner  in  1891  it  passed  into 
the  hands  of  his  son,  Sir  Grey  Humbertson  d'Es- 
toteville Skipwith,  from  whom  the  picture  comes. 


31 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

(1723— 1792.) 
Portrait  of  John  Julius  Angerstein. 
Half  length,  nearly  full  face;  standing;  left  arm 
resting  on  a  pedestal;  Van  Dyck  dress;  dark  back- 
ground. 

Canvas.   28  W.  x  36  H. 

Angerstein  was  born  in  St.  Petersburg  in  1735  and 
was  descended  from  a  respectable  family.  He 
came  over  to  England  under  the  patronage  of 
Andrew  Thompson,  an  eminent  Russian  merchant. 
He  obtained  an  Act  of  Parliament  by  virtue  of 
which  no  owner  could  change  the  name  of  a  vessel. 

Mr.  Angerstein  was  twice  married;  his  first  wife  was 
the  widow  of  Charles  Crockatt,  who  had  been  left 
with  four  children,  and  by  her  he  had  one  son  and 
one  daughter.  She  died  in  1783.  He  married  as 
second  wife  the  beautiful  and  amiable  Amelia, 
daughter  of  William  Lock,  of  Norbury  Park,  Oc- 
tober 1,  1785,  widow  of  Thomas  Lucas,  of  Leigh, 
and  who  died  September  29,  1784.  (She  was  Mr. 
Lucas'  third  wife,  by  whom  he  had  several  chil- 
dres.)  She  died  March  8,  1800.  He  died  Jan- 
uary 22,  1823,  and  his  collection  of  pictures  was 
purchased  by  the  Government  in  1824  for  £57,000; 
there  were  thirty-eight  in  number,  and  formed  the 
nucleus  of  the  National  Gallery,  London. 

This  portrait  was  painted  in  1765. 

Illustrated  in  Vol.  II  of  the  engraved  works  of  Sir 
Joshua  Reynolds,  published  by  H.  Graves.  En- 
graved by  G.  Shury,  1864. 

Mentioned  in  Leslie  and  Taylor's  "Life  and  Times  of 
Sir  Joshua  Reynolds,"  Vol.  I,  page  253. 

Mentioned  in  Graves'  and  Cronin's  work  on  Reynolds, 
Vol.  I,  page  24. 

Mentioned  in  Armstrong's  "Reynolds,"  page  191. 

Previously  owned  by  William  Beattie,  Esq.,  Glasgow. 

32 


John  Julius  Angerstein  by  Reynolds 


Lady  Frances  Finch 


by  Reynolds 


SIR  JOSHUA  REYNOLDS,  P.R.A. 

(1723— 1792.) 

Portrait  of  Lady  Frances  Finch. 

Three-quarters  length,  full  face;  seated  in  a  land- 
scape on  a  tree;  yellow  dress  and  black  lace  shawl; 
her  hands  clasped;  left  arm  leaning  on  a  tree;  even- 
ing sky. 

Canvas.   45  W.  x  57  H. 

Lady  Frances  Finch,  second  daughter  of  Heneage,  3rd 
Earl  of  Aylesford;  born  February  9,  1761 ;  mar- 
ried, September  24,  1782,  George,  Lord  Lewis- 
ham,  afterwards  3rd  Earl  of  Dartmouth,  and  died 
November  21,  1838. 

Sat  for  the  portrait,  1781-1782. 

Mentioned  in  Leslie  and  Taylor's  "Life  and  Times  of 
Sir  Joshua  Reynolds,"  Vol.  II,  pages  343  and 

387- 

Mentioned  in  Graves'  and  Cronin's  work  on  Reynolds, 
Vol.  I,  page  304. 

Mentioned  in  Armstrong's  "Reynolds,"  page  205. 

Exhibited  at  Grosvenor  Gallery,  1889,  No.  46,  by  the 
Earl  of  Aylesford. 

Previously  owned  by  a  member  of  the  family  in 
England. 


33 


GEORGE  ROMNEY. 

(1734— 1802.) 
Portrait  of  Henrietta,  Countess  of  Warwick, 
and  Her  Two  Children. 
Three  full-length  figures  on  a  terrace ;  the  Coun- 
tess on  the  right,  in  a  white  satin  dress,  sitting  to  the 
left  in  a  crimson  arm  chair,  with  her  right  arm  around 
the  waist  of  her  daughter  in  white  dress,  who  is  lean- 
ing against  her,  and  looking  up  in  her  face ;  near  them 
stands  the  boy,  in  blue  coat  and  yellow  vest  and  trou- 
sers ;  he  holds  hoop  and  looks  at  spectator.  Land- 
scape and  architectural  background. 

Canvas.  60  W.  x  78  H. 
She  was  the  daughter  of  Richard  Vernon,  Esq.,  of 
Hilton,  Co.  Stafford,  born  in  1760,  married  as  his 
second  wife  on  July  9,  1776,  George,  Second  Earl 
of  Warwick;  died  April  20,  1838.  She  had  nine 
children. 
Painted  in  1787- 1788. 

Illustrated  in  Ward  and  Roberts'  Essay  Diaries,  oppo- 
site page  43. 

Mentioned  in  Ward  and  Roberts'  Catalogue  Raisonne 

on  Romney,  page  167. 
Exhibited  at  British  Institute,  1862,  No.  192. 
Exhibited  at  South  Kensington  Museum,  1868,  No. 

815. 

Exhibited  at  Burlington  House,  1873,  No.  26.  Also 

1889,  No.  145. 
Exhibited  at  Grafton  Gallery,  "Exhibition  of  Fair 

Children,"  1895,  No.  154. 
Previously  owned  by  the  Earl  of  Warwick,  Warwick 

Castle. 


34 


Countess  of  Warwick  and  her  two  Children 


by  Romney 


Countess  of  Glencairn 


by~  Romney 


GEORGE  ROMNEY. 


(1734— 1802.) 

Portrait  of  Lady  Isabella  Erskine, 

Countess  of  Glencairn. 

Nearly  full  length,  standing,  looking  upwards  to 
the  right ;  white  dress,  blue  sash,  dark  red  mantle ;  right 
arm  resting  on  a  pedestal,  over  which  hangs  a  curtain ; 
in  meditative  attitude. 

Canvas.   48%  W.  x  60  H. 

She  was  the  second  daughter  of  Henry  David,  the 
Tenth  Earl  of  Buchan.  Married  January  21, 
1770,  William  Leslie  Hamilton,  who  died  in  1780. 
Remarried  in  1785  Rev.  John  Cunningham,  Fif- 
teenth Earl  of  Glencairn. 

The  identity  of  the  lady  is  not  absolutely  established. 

Romney's  Ledger  under  No.  33,  Lady  Bell  Cunning- 
ham, registers  two  whole-lengths  and  one  half- 
length  of  the  lady ;  see  Humphrey  Ward  and  W. 
Roberts'  "Romney,"  Vol.  II,  page  69. 

Previously  owned  by  Cunningham-Graham,  Esq., 
England. 


35 


GEORGE  ROMNEY. 

(1734— 1802.) 

Portrait  of  the  Hon.  Mrs.  Beresford. 

Half  length;  seated  half  way  to  the  left,  looking 
at  spectator ;  while  satin  dress  with  muslin  frill ; 
blue  waistband;  white  riband  in  her  hair;  landscape 
background. 

Canvas.  25  W.  x  30  H. 

Barbara  Montgomery,  second  daughter  of  Sir  Wil- 
liam Montgomery;  married  June  4th,  1774,  as  his 
second  wife,  the  Hon.  John  Beresford;  died  in 
1788. 

One  of  the  three  sisters  painted  by  Sir  Joshua  Rey- 
nolds in  the  celebrated  picture  of  "The  Graces," 
now  in  the  National  Gallery. 

Previously  owned  by  a  member  of  the  family  in 
England. 


30 


Hon.  Mrs.  Beresford 


by  Romney 


Mrs.  Methuen  by  Romney 


GEORGE  ROMNEY. 


(1734— 1802.) 

Portrait  of  Mrs.  Methuen. 

Half  length  ;  looking-  to  the  left ;  white  satin  dress  ; 
pink  sash,  black  hat ;  powdered  hair ;  reclining  attitude. 

The  portrait  was  painted  in  1784. 

Canvas.   25  W.  x  31  H. 

She  was  the  elder  daughter  of  Sir  Thomas  Gooch  of 
Benacre,  Suffolk;  married  Paul  Cobb  Methuen 
in  1776  and  died  in  1826. 

This  picture  and  the  companion  one  of  her  husband 
were  presented  to  the  late  owner's  father  by  Lord 
Boston  in  the  thirties  of  the  last  century. 

Mentioned  in  Ward  and  Roberts'  "Romney,"  page 
167. 

Previously  owned  by  the  Rev.  T.  P.  Methuen,  Bath. 


37 


J.  M.  W.  TURNER,  R.A. 

(1775— 1851.) 

East  Cowes  Castle,  the  Seat  of  J  Nash,  Esq.., 

the  Regatta  Beating  to  Windward. 

In  the  middle  distance  are  a  number  of  yachts  in 
full  sail  towards  a  buoy  in  the  foreground ;  beyond 
them  is  seen  the  Royal  Yacht  decked  with  flags,  and 
Cowes  Castle  on  the  hill  above;  a  group  of  rowing 
boats  containing  numerous  figures  in  front;  boats  and 
buildings  in  the  distance  on  the  right ;  afternoon  sun- 
light. 

Canvas.   48  W.  x  36^  H. 

Mentioned  in  Armstrong's  work  on  Turner,  page  220. 

Exhibited  at  Royal  Academy,  1828.    No.  113. 

Collection  of  J.  Nash,  Esq.,  of  Cowes  Castle,  1835,  for 
whom  it  was  painted,  with  a  companion  picture 
which  is  in  the  Sheepshanks  Collection,  South 
Kensington  Museum.  (Mr.  Nash  was  the  well- 
known  architect  who  laid  out  Regent's  Park  and 
designed  most  of  the  terraces  near  it.  In  181 1  he 
planned  Regent  Street.)  He  built  East  Cowes 
Castle  and  died  there  May  3,  1835. 

Collection  of  E.  W.  Parker,  Esq.,  Skirwith  Abbey, 
Cumberland. 


38 


C 


J.  M.  W.  TURNER,  R.A. 

(1775— 1851.) 
Mortlake  Terrace,  Early  Summer  Morning. 
(The  Seat  of  William  Moffatt,  Esq.) 
View  looking  down  the  Thames  River  from  the 
garden  of  a  house  which  occupies  the  right  of  the  pic- 
ture ;  tree  in  front  of  the  house ;  other  trees  on  the 
terrace  to  the  left.    To  the  right  of  center  a  wheel- 
barrow, beyond,  a  man  with  a  scythe  and  farther  to 
right,  a  boy  with  rake.    To  the  left,  against  the  low 
wall,  two  men  standing. 

Canvas.  48^  W.  x  36^  H. 
The  house  is  at  present  the  offices  of  the  Mortlake 

Urban  District  Council. 
Mentioned  in  Armstrong's  work  on  Turner,  pages  11S 
and  119,  and  there  we  read  the  opinion  of  Burger, 
who  writes  as  follows  of  this  picture :  "This  is 
one  of  the  pictures  I  regard  as  a  masterpiece,  and 
which  I  should  choose  to  convey  to  me  the  genius 
of  Turner,  absolutely  without  any  influence  of  the 
Old  Masters.  Claude,  the  supreme  'illuminateur' 
never  did  anything  so  prodigious." 
Mentioned  also  in  Armstrong's  work  on  Turner,  page 
225. 

Exhibited  at  Royal  Academy,  1826,  No.  324. 
Exhibited  at  Burlington  House,  1872,  No.  22 ;  also  in 

1895,  No.  25. 
Exhibited  at  Guild  Hall,  1899,  No.  22. 
Collection  of  S.  Mendel,  Esq.,  1872. 
Collection  of  James  Price,  Esq.,  1895. 
Collection  of  Stephen  G.  Holland,  Esq.,  London,  1908. 


39 


J.  M.  W.  TURNER,  R.A. 

(1775— 1851.) 

Antwerp  :  Van  Goyen  Looking  for  a  Subject. 

White  towers  of  town  and  cathedral  to  right  of 
centre,  large  fishing  boat  with  figures  in  choppy  water 
of  river.  Shipping  in  middle  distance,  also  several 
large  men-of-war. 

Canvas.   48^  W.  x  36  H. 
Purchased  from  the  artist  by  E.  Bicknell,  Esq. 

There  is  a  companion  picture  to  it  entitled  "Helvoets- 
luys,"  which  is  in  the  collection  James  Ross,  Esq., 
Montreal. 

Mentioned  in  Armstrong's  work  on  Turner,  page  217, 
and  illustrated  in  same  work  opposite  page  108. 

Exhibited  at  Royal  Academy,  1833,  No.  125. 

Collection  of  J.  Graham,  Esq.,  Glasgow,  1887. 

Collection  of  Guthrie,  Esq.,  London,  1900. 


40 


J.  M.  W.  TURNER,  R.A. 

(1775—1851;.) 
The  Burning  of  the'  Houses  of  Parliament. 
October  16,  1834. 
View  taken  from  the  Surrey  side  close  to  West- 
minster Bridge,  which  is  seen  on  the  right  crowded 
with  figures.    In  the  distance  through  the  flames  and 
smoke  appear  the  towers  of  Westminster  Abbey;  sky 
lighted  up  by  the  flames ;  numerous  boats  crowded  with 
figures  on  the  river. 

Canvas.  48  W.  x  3634  H. 
In  Armstrong's  work  on  Turner,  page  117,  we  learn 
that  he  painted  this  fire  at  least  three  times;  one 
belongs  to  Victor  Marshall,  Esq.,  of  Mont  Couis- 
ton,  at  the  head  of  Couiston  Lake.  Another,  dif- 
ferent in  its  viewpoint,  once  belonged  to  Arthur 
Sanderson,  Esq.,  of  Edinburgh,  the  smallest  of 
these ;  a  third  to  Holbrook  Gaskell,  Esq.  All 
three  canvases  are  cool  and  blue  on  their  right, 
red  and  flaming  on  their  left. 
Mentioned  in  Armstrong's  work  on  Turner,  pages 

117  and  236. 
Exhibited  at  Royal  Academy,  1835,  No.  294. 
Exhibited  at  Burlington  House,  1885,  No.  197,  and 

1907,  No.  113. 
Collection  of  Fisher,  Esq.,  London,  1868. 
Collection  of  C.'J.  Palmer,  Esq.,  of  Portland  Place, 
1868. 

Collection  of  J.  Graham,  Esq. 

Collection  of  Holbrook  Gaskell,  Esq.,  London. 


41 


JAN  VAN  DE  CAPPELLE. 


(1624  or  25 — 1679.) 

Harbor  of  Amsterdam  with  a  Man-of-War,  a 

State  Barge  and  Boats. 

On  the  left  is  a  man-of-war  with  many  figures; 
closer  to  spectator,  but  more  to  the  right,  is  a  State 
barge  with  a  Dutch  flag  at  the  stern.  On  the  right 
some  sail-boats  taking  on  cargo  from  the  row-boats 
about.  In  the  distance  another  large  man-of-war 
and  many  sailing  boats ;  beyond  is  the  city  of  Am- 
sterdam. 

Panel.  36^  W.  x  61  H. 

Mentioned  in  Bryan's  Dictionary,  Vol.  V,  page  232. 

Exhibited  at  Burlington  House,  1884,  No.  73. 

Previously  owned  by  Hon.  W.  Massey,  Mainwaring, 
London. 


42 


AELBERT  CUYP. 

(1605— 1691.) 

River  Scene  with  a  Barge  Full  of  Passengers. 

On  the  river  to  the  right,  and  close  to  the  spec- 
tator is  a  large  sailing  ship  with  numerous  passengers. 
It  carries  a  Dutch  flag  and  a  red  flag  with  a  white  bird. 
Other  smaller  vessels  are  in  the  distance.  At  the  left 
is  a  landing  place  with  ducks. 

Signed  on  the  rudder,  "A.  Cuyp." 

Panel.  29%  W.  x  23^  H. 

Mentioned  in  Waagen's  "Treasurers  of  Art  in  Great 
Britian,"  Vol.  II,  page  279. 

Mentioned  in  C.  Hofstede  de  Groot's  Catalogue  of 
Dutch  Painters,  1909,  Vol.  II,  page  189,  No.  633. 

Exhibited  at  Royal  Academy,  1890,  No.  89. 

Previously  owned  by  the  Earl  of  Carlisle,  Castle  How- 
ard, Yorkshire. 


43 


ANTHONY  VAN  DYCK. 

(1599— 1641.) 

Portrait  of  the  Countess  Lercari. 

Half  length;  turned  half  way  to  the  left,  looking 
at  the  spectator ;  dark  dress ;  right  hand  touching  gold 
chain ;  high  ruff ;  red  curtain  background. 

Canvas.  25  W.  x  30  H. 

Collection  of  the  Marquis  Coccohane  of  Modena. 

Collection  of  J.  Ross,  Esq.,  Montreal. 


44 


Countess  Lercari 


by  Van  Dyck 


Portrait  of  a  Woman  by^  Hals 


FRANS  HALS. 

(1580— 1666.) 
Portrait  of  a  Woman. 

Three-quarters  length ;  seated ;  turned  half  way  to 
the  left ;  nearly  full  face ;  looking  at  the  spectator ;  left 
forearm  resting  on  arm  of  chair ;  the  hand  holding 
book ;  the  right  hand  in  front ;  dressed  in  black  with 
cap  and  ruff;  grey  background. 

Inscribed  on  the  left,  at  top,  "Aetat  suae  56 
ANO.  1635." 

Canvas.   36%  W.  x  45  H. 

Illustrated  in  Josephin  Peladan's  work  on  Hals  op- 
posite page  48. 

Etched  by  L.  Kratke  in  the  Sellar  catalogue. 

Mentioned  in  E.  W.  Moes'  work  on  Frans  Hals,  page 
108,  No.  189. 

Mentioned  in  C.  Hofstede  de  Groot's  Catalogue  of 
Dutch  Painters,  Vol.  Ill,  page  112,  No.  388. 

Exhibited  at  Burlington  House,  1885,  No.  105. 

Exhibited  Cent  chefs  d'Oeuvre,  1892,  and  illustrated 
opposite  page  4. 

Collection  of  J.  Bernard,  Amsterdam,  1834. 

Collection  of  de  Vries. 

Collection  of  D.  P.  Sellar,  London,  1889. 

Collection  of  Charles  Shiff,  Paris,  1893. 

Collection  of  Charles  T.  Yerkes,  New  York,  1910. 

45 


MEINDERT  HOBBEMA. 


(1637— 1709.) 

Landscape  with  Building  and  Figures. 

On  the  left  are  luxuriant  clusters  of  umbrageous 
trees,  between  which  may  be  discerned  an  overshot 
water-mill ;  a  cottage  of  picturesque  appearance,  em- 
bosomed in  trees,  occupies  the  centre  of  the  view,  the 
inhabitants  of  which  stand  at  the  door,  conversing  with 
a  villager.  Within  the  shade  of  overhanging  trees  on 
the  right  is  a  second  cottage  with  a  thatched  roof,  a 
high  road  divides  the  scene.  A  man  and  a  boy  stand 
in  conversation  with  a  traveler  seated  by  the  road- 
side, and  a  man  in  scarlet  jacket  near  a  pool  of  water 
on  the  left.  The  brilliancy  of  a  summer's  afternoon 
completes  the  charm  of  the  scene. 

Signed  in  full,  lower  left  hand  corner. 

Canvas.   51^  W.  x  37  H. 

Mentioned  in  Smith's  Catalogue  Raisonne  Supplement, 
page  720,  No.  4. 

Mentioned  in  Waagen's  "Treasures  of  Art  in  Great 
Britain,"  Vol.  IV,  page  424. 

Mentioned  in  C.  Hofstede  de  Groot's  Catalogue  of 

Dutch  Painters,  Vol.  IV,  page  387,  No.  99. 

Exhibited  at  British  Institution,  1837,  No.  115. 

Collection  of  the  Earl  of  Burlington. 

Collection  of  Richard  Cavendish  Esq.,  Holker  Hall, 
Lancashire. 


4b 


A  Cavalier  by  Murillo 


BARTOLOME  ESTEBAN  MURILLO. 


(1617— 1682.) 

Portrait  of  a  Cavalier. 

Half  length,  painted  in  oval,  turned  half  way  to 
the  left  and  looking  at  the  spectator.  His  right  hand 
rests  on  his  breast,  the  other  is  not  shown.  He  wears 
black  with  a  white  collar,  and  has  long  black  hair. 
On  his  left  side  is  a  sword;  landscape  in  the  distance. 

Canvas.   24*4  W.  x  38^8  H. 

A  portrait  of  Murillo  representing  a  cavalier  with 
same  style  of  dress,  same  peculiar  collar,  etc., 
hangs  in  Dorchester  House,  London,  the  prop- 
erty of  Colonel  Sir  George  Holford. 

Illustrated  in  Muxel's  Leuchtenberg  Catalogue,  No. 
102,  as  a  picture  by  Velazquez. 

Mentioned  by  C.  J.  Holmes  in  the  Burlington  Maga- 
zine, and  reproduced  in  November,  1906. 

Hung  for  a  time  in  the  Hermitage  Gallery  at  St. 
Petersburg. 

Previously  owned  by  Duke  George  of  Leuchtenberg, 
St.  Petersburg.  (See  catalogue,  page  19,  No. 
102,  printed  1851.) 


47 


ISAAC  VAN  OSTADE. 


(162 1 — 1649.) 

The  Halt  at  the  Inn. 

In  the  centre,  a  cart  drawn  by  a  white  horse 
which  is  feeding-  out  of  a  trough,  to  the  right  a  com- 
pany of  rustics  making  merry  outside  of  an  inn.  In 
the  company  are  men,  women  and  children.  A  piper 
is  playing  at  the  extreme  right.  On  the  steps  of  the 
inn  the  proprietress  regards  the  scene  below.  To  the 
left  horsemen  and  view  of  the  landscape. 

Signed  at  the  lower  right,  "Isaac  Ostade." 

Panel.   24^2  W.  x  20^  H. 

Illustrated  in  the  Burlington  Magazine,  October,  1907, 
and  mentioned  in  the  accompanying  article  by  C. 
J.  Holmes. 

Illustrated  in  Muxel's  Leuchtenberg  catalogue,  No.  154 

Mentioned  in  C.  Hofstede  de  Groot's  Catalogue  of 
Dutch  Painters,  Vol.  Ill,  page  447,  No.  25. 

Previously  owned  by  Duke  George  of  Leuchtenberg, 
St.  Petersburg.  (See  catalogue,  page  30,  No. 
154.)        (printed  1851). 


48 


n  Elderly  Man 


by  Rembrandt 


REMBRANDT  HARMENSZ  VAN  RYN. 


(1606 — 1669.) 
Portrait  of  an  Elderly  Man  in  an  Arm  Chair, 
His  Left  Hand  on  the  Tassels  of  His  Collar. 

A  man  of  about  fifty-five,  seated  half  way  to  the 
right,  looking  at  the  spectator.  He  has  a  grizzled 
moustache  and  pointed  beard,  and  wavy  hair,  partly 
hidden  by  a  broad-brimmed  black  hat;  florid  com- 
plexion. He  wears  a  black  coat,  showing  a  long  waist- 
coat beneath,  fastened  with  small  buttons,  a  broad  un- 
starched collar  and  cuffs  to  match.  The  right  hand 
rests  on  the  arm  of  his  chair;  the  left,  on  the  little 
finger  of  which  is  a  ring,  holds  the  tassels  of  the  collar. 

SigTied  above  on  the  right,  "Rembrandt  f.  1638." 

Canvas.   32%  W.  x  42^  H. 

Mentioned  in  Bode's,  Work  on  Rembrandt.  Vol.  IV, 
page  138,  No.  273  and  illustrated  on  opposite 
page. 

Exhibited  at  Burlington  House,  1902,  No.  74. 
Collection  of  Lord  Mansfield,  who  bought  it  at  a  sale 
in  London  about  1818. 

Collection  of  the  Earl  of  Mansfield,  Scone  Palace, 
Perth. 


49 


REMBRANDT  HARMENSZ  VAN  RYN. 


(1606 — 1669) 

A  Young  Rabbi  in  a  Black  Skull  Cap. 

Aged  about  thirty ;  facing  the  spectator,  his  head 
bent  a  little  forward;  crisp  dark  hair  and  beard,  and 
a  pale  complexion.  Wears  dark  brown  coat.  The 
light  falls  on  the  face  from  above  on  the  left.  Dark 
background  lighted  up  a  little. 

Signed  above  on  the  right,  "Rembrandt  f.  1661." 

Canvas.  22$£  W.  x  26  H. 

Mentioned  in  Bode's  Work  on  Rembrandt,  Vol.  VII, 
page  80,  No.  509,  and  illustrated  on  opposite  page. 

Described  by  E.  Michel  and  reproduced  in  the  Gazette 
des  Beaux  Arts,  1901,  Vol.  XXV,  page  388. 

Collection  of  Cardinal  Despuig,  Rome.    (Presented  to 
him  by  the  Pope). 

Collection  of  Count  of  Montenegro,  Majorca  (a  rela- 
tive of  the  Cardinal). 

Collection  of  Cotaner. 

Collection  of  Marquise  de  la  Cenia,  Spain. 
Collection  of  M.  Rudolf  Kann,  Paris.  . 


50 


A  Young  Rabbi 


by  Rembrandt 


Margaretha  Van  Haexbergen 


by  Terburg 


GERARD  TERBURG. 


(1617— 1681.) 

Portrait  of  Margaretha  Van  Haexbergen. 

(The  wife  of  Burgomaster  Jan  Van  Duren.) 

She  stands  in  an  interior;  full  length,  dressed 
in  black,  white  collar  and  cuffs,  wears  black  cap, 
rests  right  hand  on  back  of  red  velvet  chair.  Grayish 
background. 

Canvas.   25%  W.  x  32  H. 

This  picture  was  painted  soon  after  Terburg  returned 

from  Spain,  and  it  has  until  recently  remained  in 
the  possession  of  the  family,  for  whom  it  was 
painted. 

For  twelve  years  it  was  loaned  to  the  Rijks  Museum, 
Amsterdam.  See  Musem  Catalogue,  1910  Edi- 
tion, page  509;  also  1905  Edition,  page  74. 

The  companion  picture  of  Burgomaster  Jan  van  Duren 
is  in  the  Collection  of  M.  de  Bestigui,  Pans. 

Previously  owned  by  P.  W.  van  Doorninck,  Huize 
Oxerhof,  Colmschate,  Holland. 


51 


DON  DIEGO  DE  SILVA  Y  VELAZQUEZ. 

(1599— 1660.) 
Portrait  of  Philip  IV  of  Spain. 
(Known  as  the  "Parma  Velazquez.") 
Three-quarters  length  figure,  life  size,  turned  to 
the  left,  rose-coral  coat,  with  silver  embroidery,  buff 
waistcoat,  white  silk  sleeves  and  flat  collar;  left  hand 
holds  a  black  hat  with  crimson  plumes,  in  the  right 
hand  he  firmly  grasps  a  baton.    Grayish  background. 

Canvas.  38%  W.  x  52^'  H. 
Very  different  is  this  portrait  of  Philip  from  those  in 
which,  faithful  to  the  etiquette  of  the  Court,  he  ap- 
pears clad  in  black.  Pellicer,  the  Spanish  Chron- 
icler of  the  time,  speaks  of  the  King  as  present- 
ing himself  to  the  army  in  the  same  brilliant 
soldier's  uniform  in  which  Velazquez  painted  him. 
The  portrait  was  painted  as  a  gift  for  his  wife,  Isabel 
of  Bourbon,  in  the  year  1644,  at  Fraga,  where  the 
King  had  gone  to  take  command  of  his  army, 
which  was  preparing  to  besiege  Lerida,  at  that 
time  in  the  hands  of  the  French. 
In  the  archives  of  the  Royal  Palace  at  Madrid  are  kept 
the  accounts  of  the  Aposentador  of  the  Palace,  D. 
Pedro  de  Torres,  of  all  expenses  during  the  cam- 
paign. Of  particular  interest  are  the  references 
which  concern  the  preparations  for  the  painting 
of  the  portrait.  We  learn  that  the  house  in  which 
Velazquez  lived  was  in  such  bad  repair  that  the 
King  ordered  certain  alterations  and  a  window  to 
be  added.  Then  the  work  on  the  portrait  was 
begun,  taking  three  days  in  all  at  different  'rimes 
during  the  month  of  June. 


52 


It  is  well  known  that  Philip  the  V,  founder  in  Spain 
of  the  Bourbon  dynasty  in  1701,  married  as  his 
second  wife,  Isabel  de  Farnesio,  Princess  of 
Parma.  In  1748,  after  the  death  of  Philip  V, 
this  portrait  was  taken  from  the  Royal  Palace  in 
Madrid  to  the  Ducal  Palace  of  Parma,  by  Don 
Philip,  the  third  son  of  Philip  V,  who  married  in 
1739  the  first  born  daughter  of  Louis  XV.  In 
1859  it  was  removed  from  Parma  when  the  states 
were  incorporated  with  the  Kingdom  of  Italy,  by 
the  widow-Duchess,  mother  of  the  Duke  Robert, 
to  Wartegg  Castle,  near  Zurich.  Later  on  Duke 
Robert  removed  it  to  Schwartzau  Castle  in  Aus- 
tria. He  died  in  1907,  and  the  portrait  went  to 
his  heir,  Prince  Elias  de  Bourbon,  who  took  it  to 
Liechtenegg  Castle,  near  Wels,  Austria.  It  was 
taken  "recently  to  Vienna  by  Prince  Elias,  where 
it  was  sold,  and  a  "lost  original"  appeared  in  the 
art  world. 

An  old  copy  of  this  portrait  is  owned  by  Dulwich  Col- 
lege, near  London.  Another  is  in  the  Collection  of 
L.  Breitmeyer,  Esq.,  England.  Pellicer  related 
in  his  "Aviso"  of  16th  August,  1644,  that  copies 
of  this  portrait  were  already  being  made. 

An  interesting  pamphlet  on  the  "Parma  Velazquez" 
was  written  by  the  late  Senor  Aureliano  de 
Beruete,  the  eminent  critic  of  Madrid. 

In  the  Burlington  Magazine  of  April,  191 1,  there  is 
an  illustration  of  this  portrait  as  the  frontispiece, 
and  an  article  follows  entitled,  "The  Fraga  Vel- 
azquez," by  Roger  Fry. 


53 


JAN  VERMEER  OF  DELFT. 

(1632— 1675.) 
The  Soldier  and  the  Laughing  Girl. 

In  the  left-hand  corner  of  a  room  a  soldier  and  a 
girl  sit  conversing  at  a  table  with  a  blue  cover.  The 
soldier  is  in  shadow  in  the  left  foreground  and  is  seen 
in  profile;  he  wears  a  large  black  slouch  hat  with  a 
red  ribbon  and  a  red  coat  with  a  bandolier  and  rests 
his  right  hand  on  his  hip.  The  girl  sits  more  to  the 
right  and  farther  back ;  she  wears  a  white  cap,  a  black 
and  yellow  bodice  and  a  blue  skirt.  In  her  right 
hand  she  holds  a  wine  glass ;  her  left  hand  rests  on  the 
table.  To  the  left  is  a  window  with  one  casement 
open.  On  the  wall  hangs  a  map  of  Holland  and 
West  Friesland. 

Canvas.    18  W.  x  19%  H. 
Referred  to  by  Burger  in  an  article  on  "Van  der 

Meer  de  Delft,"  published  in  the  Gazette  des 

Beaux  Arts,  1866,  Vol.  XXI,  page  462,  and  on 

page  548,  where  it  is  No.  7  in  the  Catalogue 

Raisonne. 
Engraved  by  Jules  Jacquemart. 
Reproduced  in  de  Groot's  portfolio,  plate  27. 
Reproduced  in  Grafton  Gallery  Catalogue,  1909-1910. 
Mentioned  in  Havard's  list,  No.  7. 
Mentioned  in  Bryan's  Dictionary,  Vol.  V,  page  289. 
Mentioned  in  C.  Hofstede  de  Groot's  Catalogue  of 

Dutch  Painters,  Vol.  I,  page  599,  No.  39. 
Mentioned  in  The  Outlook,  March,  1910,  page  485. 
Mentioned  in  Burlington  Magazine,  December,  1910. 
Exhibited  at  Champs  Elysees,  Paris,  No.  107. 
Exhibited  at  Grafton  Gallery,  1909-10,  National  Loan 

Collection,  No.  50. 
Exhibited  at  Burlington  Fine  Arts  Club  1900,  No.  18. 
Collection  of  Leopold  Double,  1866. 
Collection  of  Mrs.  Samuel  S.  Joseph,  London. 


54 


The  Soldier  and  the  Laughing  Girl  by-  Vermeer 


c7VI.  KNOEDLER  CO. 

PARIS,  23  PLACE  VENDOME 
LONDON,  15  OLD  BOND  STREET 
NEW  YORK,  556-558  FIFTH  AVE. 


OLD  AND  oMODERN  RASTERS, 
RoARE  ETCHINGS,  ENGRAVINGS, 


FRAMING  AND  RESTORATION 
OF  PAINTINGS 


cArranged  and  Printed  by 
Goerck  cy4.rt  Press 
New  York 


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